Staunton vindicator. [volume] (Staunton, Va.) 1860-1896, 1887-06-17
FACES FOR THE STAGE.
What Was Said by Actors of Note at 8
Recent Benefit.

What Was Said by Actors of Note at 8
Recent Benefit.
Behind the scenes of theatre is not an
interesting place, usually, and its mac
feasibility is good thing in preserving
the air of mystery and ideality so essen
tial to stage work. But on the occasion
of the Oouldock benefit the actors en-
ployed were so famous, and the rules SO
relaxed, that moderate company keenly
enjoyed the meeting of Edwin Booth,
Lawrence Barrett, John Gilbert, Joseph
Jefferson, G. w. Couldock and number
of lesser dramatic personages. Much OF
their talk was commonplace, of course,
but at length somebody spoke of an &C
count, published that morning. of Richard
Mansfield's attempt to represent the dual
character of DIR. Jekyn and Mr.. Hyde
The former is good and rotund man in
the story, you will remember, with
benevolent sort of face, while the latter
is wizened scoundrel, with an ugly, evil
visage It was said that Mansfield had I'M
dertaken to show the contrasted faces by
means of contortion alternated with calm
placidity. In the slang of the stage he had
s'mugged it.'' Mr.. Booth remarked: 81 re-
member that my father always urged
actors of character parts to rely as little
as possible on make up, and to practice
the right expression by an artistic control
Of the muscles of the face, even when the
expression was one which had to be stead
lily maintained throughout the play. He
did SO very generally himself. AS Sir
Giles Overreach he did not line his face at
all, and about the only paint he used was
for the production of the desired COM
plexion-not for expression"
os,.I~
Jefferson, who stood there in the guise Of
Bob Acres, ready to appear in "The
Rivals, +" "but when you play juveniles at
my age it is the obliteration of lines, not
the making of false ones, that requires the
brush. Speaking of your fathers idea,
though, reminds me of an actor in his
company who found it extremely difficult
to obey the rule. He could put his mobile
face into the correct grimace at the outset,
before the glass in his dressing room, but
could not hold it persistently. He would
be a most atrocious villain at first sight,
but when the audience got well acquainted
with him, and the action of the drama re-
quired him to get wickeder and wickeder,
his face would steadily smooth out. Many
a time your father scolded him for this,
and at last permitted him to paint on the
necessary lines.'
my experience has been singular, " said
Mr.. Gilbert. 1T began % play old men
right from the commencement of my Ca
reer, and, being boyish then, 1 had to paint
my face for age very thoroughly. I am
now made up for Sir Peter Teazle, as you
see, but, alackl the wrinkles are all natu-
raj. One after another, during about
half century, have left off the artif-
cial lines, until at last have caught up
with my stage age.n
Mr.. Barrett told about an actress whom
he would not name. ''But she had a
pretty as well as mobile face,'' he said.
land that is combination not often
found. Strong expression does not com
monty go with lovely features However,
it was SO in this instance. The lady prided
herself a great deal on her facial delinea-
ton, but she had the same difficulty men
toned by dr. Booth-she couldn't be
sure of Just what she was looking like
when away from her glass. So she al
ways had a tiny mirror about her toilet
in fan, as an adornment at her wrist,
or Id some other place where the audi
ence would not detect it. Whenever she
would become in the least uncertain of
her face she would glance into the mir
ror and readjust her features. 1t was a
good, practical idea. New York Cor.
Chicago Herald.